Prabodh Chandrodayam

The provided text is a comprehensive summary and critical edition of the Sanskrit play Prabodhacandrodaya (The Rise of the Moon of Enlightenment) by Krishnamishra Yati. The edition, published in 1936 by the Government Press, Trivandrum, as part of the Trivandrum Sanskrit Series, includes the commentary Nāṭakābharaṇa by Govindāmṛtabhagavān, a disciple of Prakāśatīrtha.

Here's a breakdown of the key aspects presented in the text:

1. Editorial and Publication Details:

• Title: Prabodhacandrodaya
• Author: Krishnamishra Yati
• Commentator: Govindāmṛtabhagavān (disciple of Prakāśatīrtha)
• Editor: K. Sambasiva Sastri (Curator of the Department for the Publication of Oriental Manuscripts, Trivandrum)
• Publisher: Superintendent, Government Press, Trivandrum
• Authority: Published under the authority of the Government of His Highness the Maharaja of Travancore.
• Year of Publication: 1936
• Manuscript Basis: The edition is based on five manuscripts.

2. Introduction and Critical Analysis (Preface by K. Sambasiva Sastri):

• Work's Nature: The Prabodhacandrodaya is noted for its elegant language but deals with the profound essence of Vedanta philosophy, requiring thorough elucidation through commentary.
• Commentary's Value: The Nāṭakābharaṇa commentary is highlighted as invaluable, offering crucial variant readings and appropriate explanations for the text. A comparison with the Nirnayasagar edition points out significant textual differences where the Nāṭakābharaṇa reading is considered superior and contextually appropriate.
• Commentator's Background: While details about Govindāmṛtabhagavān are scarce, he is identified as a disciple of Prakāśatīrtha. His quoting of a verse recited in Tamil country suggests a South Indian origin. His easy and scholarly style, free from pedantry, suggests he was not a very late author, possibly not later than the 16th century AD. The preface speculates that the commentator aimed to explain the drama and also counter the proselytizing tendencies of Buddhism and other "corrupt religions" prevalent in his time.
• Author's Significance: Krishnamishra Yati is known to have lived in the 11th century AD. His work was so influential that Vedanta Desika modeled his drama Sankalpasūryodaya on it. Great poets like Sri Harsha (12th century AD) and Madhvacharya (14th century AD) drew inspiration from Prabodhacandrodaya, adapting its verses.
• Textual Variants: The preface details several instances of textual variations between the present edition and the Nirnayasagar edition, including omitted verses, added verses, and prose passages presented as verses or vice versa.

3. Content and Philosophical Underpinnings:

• Philosophical System: The play deals with the core doctrines of Vedanta philosophy.
• Commentator's Persuasion: Despite the author and commentator treating Vedanta, the commentator seems to belong to the Vaishnavite persuasion.
• Allegorical Nature: The play is allegorical, depicting abstract concepts as characters. The introduction suggests the commentator aimed to combat Buddhism and other religions, implying a critique of their doctrines within the play's framework.

4. The Play's Structure and Content (as revealed through the commentary excerpts): The provided text includes extensive portions of the play's commentary, particularly for the first act, offering insights into:

• Mangala Shloka (Invocation): The opening verses are presented with detailed explanations, invoking deities and Gurus, and establishing the play's philosophical theme of identifying the self with Brahman.
• Debate on the Play's Purpose: The commentary discusses why Vedanta is presented through a drama, addressing potential objections regarding the Rsa (aesthetic sentiment) and the suitability of drama for spiritual discourse. It argues that drama can be an effective medium for conveying profound truths to diverse audiences.
• Analysis of Key Verses: The commentary provides a verse-by-verse breakdown of the initial verses, explaining the philosophical concepts, grammatical structures, and allegorical meanings. For instance, the first verse is interpreted in relation to Brahman, Maya, and the nature of reality.
• Characters and Themes: The text touches upon characters representing philosophical concepts like Viveka (Discrimination), Moha (Delusion), Kama (Lust), Krodha (Anger), Lobha (Greed), etc., and their interactions. The initial dialogue between Sūtradhara (Stage Manager) and Nati (Actress) sets the context.
• Allegory of Existence: The initial shlokas are interpreted as describing the ultimate reality (Brahman) as the source of creation and existence, whose ignorance leads to the perception of the phenomenal world.
• The Play's Narrative: The beginning of the play involves the Sūtradhāra receiving instructions to stage the Prabodhacandrodaya, highlighting the reign of King Kirtivarma and the philosophical struggle between Viveka and Moha. The entrance of Kama and Rati (Lust and Love) signifies the commencement of the allegorical conflict.

5. Detailed Analysis of the First Act: The commentary provides a deep dive into the philosophical meaning of each verse, often referencing other scriptures and philosophical schools to clarify the author's intent. It discusses:

• The nature of Brahman and Maya.
• The concept of Adhyasa (superimposition) and its relevance to understanding reality.
• The role of desire and attachment in the cycle of birth and death.
• The influence of qualities like ignorance, pride, and greed.
• The ultimate goal of liberation and the means to achieve it.

In essence, the document is a scholarly edition of a significant philosophical drama, aiming to make its profound teachings accessible through a detailed and insightful commentary, placing it within its historical and philosophical context.